1/1 - John Charlot

POEMS
John Charlot
TABLE OF CONTENTS
SAMOAN
FRENCH
Ma Vie
À Arraye
Visitation
Lumières des Pays
1/1
L’Océan au Salon
Nostalgie de la Chaire
HAWAIIAN
He Mele Aloha no Waikāne a me Waiāhole
E Ho‘i Kaho‘olawe ‘Āina Hao
Pōlia
Kei i ka ‘ili wena ‘ilima
He Kanikau no Kane‘eaulani
Mai hopo ‘oe,
No Leiola
No Leiola
He Mele Moho no Neil Abercrombie
Himeni
Aloha Lāna‘i i ka wahine o kai
ENGLISH
An Eskimo Sells Bone-Sculpture at a Greenland Airport
Poem Written for Susan Charlot’s Paintings
What Soft Ground Is
American Sāmoa
Two Songs for Guitar
Three Poems for T.
2
SAMOAN
‘O SOLO FOU
1.
Fa‘apei ‘o se aitu,
‘o tolotolo lo’u loto
ma tago lou tino fou
‘i se atigilima mālūlū.
‘I le vā o ou nifo
fā‘aili lau mānava.
Ma‘alili le palapala
‘e lē fa‘alā ai––ō!
2.
‘O le fale afolau lava.
‘E ‘auala ulu ‘i le lagi
lā‘au ma le Sāmoa.
Tātou te nonofo ‘i lalo.
‘I le ataata fa‘aalofi
‘e vala‘au le mālamalama
‘i le isi mālamalama.
‘O le loto te vaveao.
3.
‘O pa‘a ‘e eva ma ona mata.
Sa toloa leva lona paopao ‘i uta.
‘Ua lē mānaia le ‘auivi ‘i i‘a.
Na ‘o ia lona lava.
‘E lē gata ‘i le ‘amu.
‘O lo‘o agi ‘i luga ‘o galu.
‘O le sami ‘ua lē iloa ‘o ia.
‘Ua avea ma se sami.
4
NEW SONGS
1.
Like a ghost
My desire steals out
and touches your new body
with a cold fingernail.
In the space between your teeth
your breath whistles.
The unsunned mud
is cold.
2.
A true long house.
The breadfruit columns a pathway
to a wooden and Samoan sky.
We sit below.
In the ritual circle of reflections
light speaks
to light.
The soul dawns.
3.
Crabs wander with his eyes.
His canoe has long been drawn on land.
His bones attract no fish.
He is alone.
Coral does not hold him.
Waves blow above.
The sea has forgotten him.
He has become some sea.
5
FRENCH
MA VIE
Let petits plombs que je tire sur les merles déchirent mes fleurs.
7
À ARRAYE
Accroupi sur la voie arrachant la maudite gerbe,
J’envie ces hommes aussi passager que l’herbe.
8
VISITATION
Deviseuse de brouillons de moments,
Verse sur nous un peu de l’eau de voeux,
Patients clients de l’inattendu,
Cherchant des nougats dans la temporelle passoire.
Théologiens de prophéties d’histoire,
Négligents des sables furieux,
Surprend-nous physiques en instance,
Qui attendent toujours l’orgasme du coucou.
9
LUMIÈRES DES PAYS
I.
CASTLE BEACH
Les enfants bruns sablent l’écume de rose.
Le soleil ne sait dire ce qui brille le plus,
Ni la nuit si je veux partir.
Sur le haut de la colline, les bananes flairent.
Les feuilles de hala dardent comme des coups de brosse.
Les mouillures s’y composent.
Des mythologies obscurent la noire source
Dont les terminaisons douces et larges arrosent
Les brisants blancs qui les éclairent.
La lune parait avant que le jour ne close.
Dans les champs phosphores que s’étalent sur toute frontière,
Les enfants doux-amers noircissent.
10
II.
PROMENADE EN BAVIÈRE
La bière épaisse me rend plus fatidique encore et lourd.
Mes confrères rēvent sonores dans les herbes polyformes
Et monotones qui les couvrent.
Les vents doux des montagnes ont suivi les lentes
Ondulations des prés. Les chemises blanches ouvertes
Tremblent plus vite qu’ils ne respirent.
Les charrues de bois ont enfoui les mammouths et les germanes,
Auxquels le ciel égal et solide met une dure borne.
Mes pages là-devant font jaunes.
Au-dessus de la page tachetée de notes se fraye notre mince texte.
Nos chansons de marche sont vieilles, mais l’ensemble manque de tact,
La clef de Fa à mi-vitesse.
11
III.
L’AURORE BORÉALE À ST. JOHN’S, MINNESOTA
Au coin sinistre et bas de ce ciel mécanique du Nord
Flotte sans bouger, mièvre et acolore, une mince lueur.
Le spectacle se prépare.
Des rayons rigides comme des os s’en lancent vers nous,
Et tournant presque invisiblement, laissent des taches et des trous.
Les mèches se couvre de cette boue.
Les taches solidifiées émettent de propres raies
Et roulent en place à leur tour pour faire cette poussière
Que mouillent les grêlons de sueur
Tombant d’une tringle droite mais aussi large que l’horizon.
Nous devinons le rideau ultime dont masque le rebours
Une scène plus froide qu’aucune encore.
12
1/1
L’oeil intense, l’oeil blessé
Les toros bouclés valent les moutons sans leurs ombres déprimées
Mes cheveux ne se doivent qu’aux chanps lisses des comètes
Mais mēme les astres naissent d’une mer
Qu’est-ce que je ne peux faire pour rejoindres mes idées
La souffrance me grappe au rocher testiculaire
L’espoir me promet des raçines traitresses
Le génie ne peut pas me suffire
Je joue oui je joue seule
Mes yeux enfantent pour d’autres
Que ces univers sont grotesques en leur synthèse
Loin de toute composition
Une femme nue invente des étoiles
Pour couvrir les yeux de son amant
Pour M. à l’occasion de son exposition, 9 Mars 1971
13
L’OCÉAN AU SALON
Les vagues s’élèvent, frémissent, et plongent comme des plumes d’autruche.
Elles laissent voler derrière leurs voiles blanches.
L’eau est de satin à bordures de dentelles.
Son émotion relève sa moire.
Les serviteurs, discrets quoique nus,
se brûlent les doigts en lui épilant les immondices.
Ils sont gentils comme nous l’étions.
Des clous de laine les fixent entre le piano et la croix.
Un large vase de Chine empiédestale une rose.
Une femme en noir s’en va dans le scandale.
Les vautours missionaires se plaisent à faire l’époux.
Un mariage se consomme au claquement des drapeaux.
Pour John Dominis Holt à l’occasion de la présentation
de sa pièce de théâtre sur la reine Lili‘uokalani.
14
NOSTALGIE DE LA CHAIRE
Orgue, cordes, ombre
m’émeut, tombe de tympan.
Un pas en arrière pour nous deux, Jésus,
englouti dans le vagin célèste.
Une papeterie de surplis
dont la parole s’est fait mots.
15
HAWAIIAN
HE MELE ALOHA NO WAIKĀNE A ME WAIĀHOLE
Music by Kane‘eaulani Aluli. Words by John Charlot.
Pulupē au lā i ka wai ola,
Olioli mai lā he leo mamao.
Mao ‘ole ka ‘ūlāleo kahiko.
Hikihiki mau lā i ka wā ā pau.
Lino nō ka ‘ili i ka lewa.
Na wai e nalu iho?
Lanalana nā aka o nā mauna.
He maunu kōnane iā māua.
Nehenehe ka waili‘u ‘ale‘ale
I ka monimoni a nā āholehole.
Halia mai lā he makani namu.
Muia nā ‘i‘ini minamina.
‘Auhea ‘oe, pehea ka pakele?
Lele ‘ē i ke aka a ka lewa.
Lino nō ke aka a ka lewa.
Na wai e nalu iho?
Pulupē au lā i ka wai ola,
Olioli mai lā he leo mamao.
Mao ‘ole ka ‘ūlāleo kahiko.
Hikihiki mau lā i ka wā ā pau.
17
A SONG OF ALOHA FOR WAIKĀNE AND WAIĀHOLE
While I was drenched in the water of life (of Kāne),
A distant voice chanted to me.
The ancient spirit voice will not clear away.
It comes to me ceaselessly.
The surface of sea and skin is shiny with the sky.
Who will plunge in thought?
The reflections of the mountains are floating,
A shining bait for the two of us.
The wavy mirage rustles
With the continual gulping of the young āhole fish.
An unintelligible wind is carried towards us.
Regretful yearnings gather and clash.
Listen to me! How to escape?
Leap off to the reflection of the sky.
Shiny indeed is the reflection of the sky.
Who will plunge in thought?
While I was drenched in the water of life,
A distant voice chanted to me.
The ancient spirit voice will not clear away.
It comes to me ceaselessly.
copyright 1975, 1976, 1977 John Charlot
18
E HO‘I KAHO‘OLAWE ‘ĀINA HAO
Music by Kane‘eaulani Aluli. Words by John Charlot.
Kū kōlū
Mai loko ‘ino o nā ho‘omalau.
Kū kōlū
Ma ia moku heiau.
E‘e mai
Nā me‘e u‘i o ka ‘āina
Pae mai
I nā pōhaku i haumia.
Kanikau
No nā lawai‘a i moana mamao.
Kanikau
No ia ‘āina hao.
E
E
E
E
ō mai,
nā luna.
ō mai,
nā kulaīwi.
RETURN KAHO‘OLAWE, STOLEN LAND OF IRON
The bombs fall. Stop the bombing
That comes from irreverent hearts.
The bombs fall. Stop the bombing
On that island of broken heiau.
They embark,
The youthful heroes of the land.
They land
On the desecrated stones.
Sing a dirge
For the fisherman in distant seas.
Sing a dirge
For this stolen land of iron.
Respond,
You rulers.
Respond,
You lands of our bones.
copyright 1976, 1977 John Charlot
20
PŌLIA
Hana no‘eau ke aloha
Hana aloha ka no‘eau.
Kohi ke aheahe kono kilohana.
Nani ka nohona keha i ka hea.
Holahia ka moana i mua o ke alo,
e ku‘u hoa ‘alo kai a lewa.
‘Ōlelo hoene ‘oe mai ko loko māla‘e.
Hani mai nā manamana ani kuahiwi.
Honi ona ‘oe i ka hā honua lipo,
e ka wahine maoli iwi hilo hilo.
‘A‘oe loko, ‘a‘oe waho, ‘elua ‘ole ‘o kāua
i ke kāhuli ‘ia ‘ana a kaukāhi o ke ao.
I ka lahalaha ‘ana a ka pohu ‘olu ‘auina lā
e kāhea ana ka ‘iwa kaha nopunopu kai.
Ma‘ule kona makamaka, e maha wale ana nō.
E luana ke one i ka hamo hu‘a holo hene.
Kani mai nā kapua‘i a ke kupa ho‘i hana pau.
Mai ka ‘elelani po‘i ka pō o ka ‘oia‘i‘o.
Piha ka pō kapa ‘ele‘ele no kāua.
Kū‘ami‘ami nā lā a nā mahina
e hala ana nā manawa kau a kau.
Holo hohonu nā au ma ‘ō a ‘ō
a nāueue ka papa ‘elemoe lilo.
Lilo i ka niuhi ke ‘au māhole ‘ole
i nā hālelo ulu ‘o‘e ko‘a.
E au mai nei ka ‘onaulu auwāea
e ha‘ukeke ke kāhekaheka.
Hāmau kāua i ke kuluaumoe
kiu ‘ia e na hōkū makauli‘i.
E pō‘ai ‘o lākou kūlewalewa
i ke kikowaena nei no ka huli lani.
Huli ko ‘ōnohi i ka moemoeā.
Pehea ko mana‘olana? Pehea ko paulele?
Hia‘ā i ka pō kulu wana.
Ala ana au hahana i ko alo.
Ili loloa ko lauoho i luna o`u.
‘Imo ‘ole ko maka la‘a uli.
Pā kokoke nā kūkulu o ka lani
lipolipo, panopano, kanokano,
loli i kukuna o ka lā.
22
LET IT BE NIGHT
Love is a work of wisdom.
Wisdom is a work of love.
The breeze detains us, inviting us to gaze.
How beautiful this setting high in the calling mist.
The broad expanse of sea and plain is spread before our faces,
O my companion facing struggles with sea and sky.
You speak soft sounding from your clear insides.
Your fingers graze me like the cool, gesturing mountain wind.
You breathe fragrant kisses with the breath of the deep moist earth.
O realest native woman entwined with me here.
There is no inside, no outside, we are not two
in this turning into oneness of the world.
In the spreading of the cool stillness of the descending sun,
the man-o’-war calls as it soars above the softly surging sea.
His companion is weary and only wants to rest.
The sand luxuriates in the caress of the foam running on its slopes.
The footsteps of the local sound as he returns from work.
From the east pounces the night of truth.
The night is full, a black cloak for us both.
The suns and moons gyrate
as the respiring moments pass season by season.
The currents flow deep there and there
till the foundation layer of the far south moves.
The great shark gets to swim without scraping
in the caves of groves of jagged coral.
When the broad wave from distant time and space flows hither,
the tidal pools of coral shake.
We quieten in the deep night dripping sleep,
spied on by the envious stars.
They circle unstable
around this very center of the turning sky.
Your eyeball turns in your desiring dream.
How can you hope? How can you trust?
Sleepless in the night drizzling starlight.
I awaken warm toward your face.
Your hair descends long upon me.
Unblinking your eye of sacred dark.
The columns of the firmament touch me near,
deepest dark, shining dark, stiff dark,
turning into rays of the rising sun.
23
KEI I KA ‘ILI WENA ‘ILIMA
Kei i ka ‘ili wena ‘ilima
Ka wahine hanu maile.
Kolopua i ke kaiue
Ke kialoa lanaau.
E ao i puleileho
o mimiki ke kai a Pele!
E ‘ami oli ola ke ōla‘i
i ka iho ‘ana iho o ka uila.
Proud of her skin gleaming with `ilima,
The woman breathes the maile.
Floating scent-like over the rise and fall,
The slim canoe moves with the current.
But watch for storm
or you’ll be sucked out before the wave of Pele!
The earthquake gyrates singing and alive
with the lightning coming down and down again.
24
HE KANIKAU NO KANE‘EAULANI
19 Iulai, MH 1976
HUI
Hao mai ka makani.
Hū mai ke aloha.
Auwē ka pōki‘i!
‘Upu ka ‘eha.
Hali‘a mai ka leo kūli‘u,
ka ‘ili hinu ‘ele hiwa.
Kahi nā manamana lima
i ka lauoho ‘ele pō.
Lilo ‘oe i wailele,
i lau lawe makani.
Nalu ‘oe i ka lewa
a nalo i ka launahele.
E ho‘omaha ‘oe i ka ‘olu.
Ho‘omaka hou ka mele manu.
E lohe ‘oe i ke oli komo
hio iho i nā iwi koa.
E ō mai nei, e ku‘u hoa palo.
Eia nō ko kītā mātautau!
Make ‘ē nā keiki i ka hula
onaona i nā pua haku ‘oe.
25
A SONG OF MOURNING FOR KANE‘EAULANI
July 19, 1976
CHORUS
The wind howls.
Love wells up.
Alas the little one!
The hurt comes back.
Your deep penetrating voice comes to my mind,
the shiny, dark skin,
the long fingers combing
in the night-black hair.
You have turned into a waterfall,
into a leaf taken by the wind.
You ponder space
and disappear in the forest leaves.
Rest now in the coolness.
The song of the birds begins again.
Listen to the chant of invitation
whistling through the ancient warriors’ bones.
Answer me, my companion in inspiration.
Here is your guitar all ready.
The children feel a strange desire to dance,
fragrant with the flowers you have plaited and composed.
26
MAI HOPO ‘OE
Mai hopo ‘oe,
e ku‘u ipo.
Pono e noho
ou akua ‘elua.
Ua pono ia.
‘A‘ohe mea ‘ē.
‘Elua nō ke ‘ano
o ko kino aloha.
‘Elua
‘Elua
‘Elua
‘Elua
lima nou.
wāwae.
lehelehe.
pepeiao.
No ke aha nō
Ko hopo loa.
Pono lua ‘oe.
‘Elua ‘o kāua.
31
NO LEIOLA
E ku‘u hoa
ku‘u hoa o nā pali ulipō
ku‘u hoa o nā kula pā ka lā
Aloha nō ‘oe.
E hele ana ‘oe me ō e aloha
hū a pau ‘ole mai ka loko nei.
E huli iki ‘oe ma kou ala hula
e aloha mai.
Ku‘u hoa i ke kau o ke kanikau,
e kauaheahe pono i ke ola.
No ke ola nō ‘oe, ‘ae, no ke ola.
‘O kou inoa ia–– e ō mai!
NO LEIOLA
Hana no‘eau ke aloha.
Hana aloha ka no‘eau
Honi kāua i ka pua ola
Pālua ‘ia anei ke ‘ala?
He ala loa no kāua ē ––
Pehea lā nā mea li‘ili‘i?
Hō‘ika ‘ia ‘oe ka loko
e mana loa ko kāua hā.
32
HE MELE MOHO NO NEIL ABERCROMBIE
Hui:
Kaulana ‘o Neil i ke koa,
Ka ‘elele o ka ‘oia‘i‘o.
I.
Ke ua a kahe nā wai,
pi‘o ke ānuenue.
E hao ana nā makani ‘ino,
‘alo‘alo kuāua no kuahiwi.
II.
‘O kona kānāwai ‘o ke aloha
i nā pua lili‘i pale ‘ole.
‘O ia nō ke kumu i ka pono
i ke aupuni a i ke kulanui.
III.
He wa‘a nahā ‘ole kona
ke ko‘okā ka ho‘owalewale.
Minamina ‘ole i kālā
kēia kama aloha ‘āina.
IV.
E ho‘omaha i ka malu o Mānoa,
e ka ‘elele na‘auao.
Nui ka wela o ka lā
ma ke ala o ko ‘imi loa.
1976
33
A CAMPAIGN SONG FOR NEIL ABERCROMBIE
Chorus
Famous is Neil for his courage,
the delegate of truth.
I.
When it rains so hard the waters flow,
the rainbow arches.
When evil winds blow,
he dodges the spear-like mountain showers.
II.
His rule is aloha
for the small defenseless flowers.
He is the teacher of the right
to the government and the university.
III.
His is a boat that does not break apart
when buffeted by temptation.
He does not regret money,
this child who loves and is loved by the land.
IV.
Rest in the shade of Mānoa,
enlightened delegate.
Great is the heat of the sun
on the path of your great search.
34
A Campaign Song for Neil Abercrombie was written in 1976 for his election as
representative of Mānoa Valley, Honolulu. The song is based on proverbs and the most
famous political songs, Kaulana nā Pua and Kamuela King, and uses the ambiguity
and symbolism typical of Hawaiian poetry.
Chorus: Kaulana recalls Kaulana nā pua… and other songs. The word is standard in
songs and in conventional introductions for stories. ‘Elele ‘delegate’ contrasts with the
evil ones in Kaulana nā Pua.
I. Heavy rain and storm can mean troubles or battles. The rainbow is a sign of the
presence of chiefs. The last line is based on a proverb used of brave warriors.
II. Kānāwai is a term for rule or law. Pua stands for children. Line three refers to
Abercrombie’s activity as a teacher, which he now extends to the political realm.
III. The first two lines are based on a proverb whose sexual significance is extended to
Abercrombie’s incorruptibility. The second two lines are based on Kaulana nā Pua.
IV. A reference to the place represented by Abercrombie. The place itself appreciates his
work. The last two lines play on Hawaiian symbolism that is the reverse of Western:
cool is good and heat is bad. He will meet many obstacles in his career. Ka ‘imi loa is a
central Hawaiian concept: Hawaiian culture is unified, not in a static system, but in the
movement of search.
35
HIMENI
Kono ke kahuna pule
iā Iesu e hālāwai,
i loko o kona hale
e noho ‘ai.
Akā ‘a‘ohe wai ‘olu.
‘A‘ohe āna honi mai.
‘A‘ohe poni ‘ala ia
i ke po‘o a wāwae.
Lawe ka wahine hala
i ka ipu alabata.
Ku‘u iho ka lauoho
me nā waimaka.
Ho‘opulu i wai ‘olu.
Holoi me ka honi mai.
Poni ‘ala ka wahine
i ke po‘o a wāwae.
Mana‘o ‘ino ke kahuna:
“‘Ike ‘ole ke kāula
he wahine hewa ia.”
A hua Iesū:
“E! ‘A‘ohe ou wai ‘olu,
‘a‘ole ‘oe i honi mai.
‘A‘ole i poni ‘ala ‘oe
i ke po‘o a wāwae.
Pono ka wahine hewa.
Kala kāna hala a pau.
No kona aloha nui
e ola mau!”
Ho‘opulu i wai ‘olu.
Holoi me ka honi mai.
Poni ‘ala ka wahine
i ke po‘o a wāwae.
Written for a composer who wanted a hymn.
36
ALOHA LĀNA‘I I KA WAHINE O KAI
Aloha Lāna‘i i ka wahine o kai
Ha‘aha‘a i ke alo o Pu‘upehe lā
Lana ka lima me Kaho‘olawe lā
I ka ‘ālohilohi o nā pae ‘ōpua i ke kai
Aloha Lāna‘i i ka wahine o kai.
Aloha Lāna‘i i ka wahine o uka
Oli aku i ke alo o Lāna‘i Hale lā
Ku‘i ka lono i ka hono moku lā
A kupu a lau, a puka a hua i ka uka
Aloha Lāna‘i i ka wahine o uka.
He mele mahalo no ka hālau o Lāna‘i
Lāna‘i is beloved in the woman of the sea
Dancing low before the face of Pu‘upehe
Her arm floating like Kaho‘olawe
In the shining of the cloud banks on the sea.
Lāna‘i is beloved in the woman of the sea.
Lāna‘i is beloved in the woman of the mountains
Chanting out before the face of Lāna‘i Hale.
The sound is heard around the island circle,
and plants sprout and leaf and burgeon and fruit upon the mountains.
Lāna‘i is beloved in the woman of the mountains.
A song of thanks and appreciation for the hālau of Lāna‘i
37
ENGLISH
AN ESKIMO SELLS BONE-SCULPTURE AT A
GREENLAND AIRPORT
If you had only seen what I have seen.
The Eskimo watched the airplane spray the snow,
The tourists exit blinking on the scene
And stamping ask their maps where they were now.
The walrus’ ghost swims on within its bones,
Which bear strong gods between my aching hands.
The seal with ears, or man with flippers, loans
The sacred passage through inhuman lands.
I would have told you but you could not listen.
Come with me now onto the mapless plain
Where the walrus flees across the ice that glistens
Beyond horizons limiting our pain.
I go so far. There is no plane that flies
Further than the snow before my eyes.
39
POEM WRITTEN FOR SUSAN CHARLOT’S PAINTINGS
The finger on the orphan’s lips
protects the widow’s dream.
From edges of the black eclipse
the locks of sunshine stream.
The liquefaction of all things
into this ether moves
that we can beat with shadowed wings
and prance upon with hooves.
The orphan scratched into the dirt
and wondered which would last:
the line, the finger, or the hurt.
His father’s umbra passed.
40
WHAT SOFT GROUND IS
I seat you on the bed and kneel
The room divides in darks and lights
The sunlight printed on the shade
softens our shadows
Lips move across your skin
luminous as the moon is luminous
You’ll laugh
I’ve always feared you loved my shadow
Ears ring with your Renaissance fingers
My hand on your skin seems old
Raise the shade now all is dark
Press blind
41
AMERICAN SĀMOA
I
The town crazy man approached me, his palm extended with two dimes. I reached for
them. His humor was instantaneous. He avoids me now.
II
I mentioned a Samoan book on culture to my chiefly friend.
“Don’t mind what he says.” He calculated in his head. “He’s only fourteen generations.”
III
“You’re putting on weight.”
“I wasn’t always so pretty.”
42
TWO SONGS FOR GUITAR
I.
Your body is not cold though you may think it so.
As emerald clouds fade into deepest blue,
Your hair flows orange on this amber snow
And all the tracks that led us where we knew
Smoothen to music from our world below.
II.
Your tears are not in vain though you may think them so.
They fall like petals on this carpet ground,
Swirl iridescent in the winds that blow
Through strings of harpists leaving their own sound
To touch with gentler fingers into our new woe.
43
THREE POEMS FOR T.
I.
The Mistress of Knots
At first I thought it was your skillful fingers.
Then I saw you didn’t touch the rope.
Now I watch your eyes as the rope straightens.
I suspect you can do it around corners.
II.
Deaf men feel music the way I feel your skin,
Gathered into it unknowing but aware.
Only my palms become miraculous.
My mouth opens to what I almost hear.
III.
In my arms you become a river
An animal of a river
The bed that hugs the water
A mouth on the sea.
You form the four posts of the first house.
I thatch you, cover your sides,
Laying the foundation.
Earthquakes will join us.
I come through you again discovering,
Recovering my first cry,
That first helplessness
That forms its world forever.
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